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Прецедентность в эпоху мультимедийной коммуникации

100%
Panova E., Shumakova E.
Przegląd Wschodnioeuropejski
|
2019
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vol. 1
357-369
EN
The article is devoted to the phenomenon of precedence (Yu. N. Karaulov) in modern Internet communication that implements multiple logic (self-presentation, connectivity, virality, aggressive competitiveness) in the conditions of intensive development of the main metaprocesses of modernity (globalization – individualization, commercialization - mediatization, according to F. Krotz ). The authors consider the definition of «precedent text» in the context of the concept of intertextualization, identifying features of the representation of precedent in the aspect of multimedialityr (as the example of posts using text and image in the blogosphere and SMM). Thus, the intersection of media aesthetics and communication strategies of various types is investigated. The authors come to the conclusion about the reference functions of media aesthetic elements, marking the key meanings of statements.
2
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Медиаэстетический компонент в спецпроектах издания «Аргументы и факты»

100%
Simakova S., Topchii I.
Przegląd Wschodnioeuropejski
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2020
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vol. 2
499-507
EN
The article examines the special projects of the publication “Arguments and Facts”, which are a polycode journalistic text, determines the role of the media aesthetic component in creating a publicistic image. The theoretical basis of the research was the works of M. A. Berezhnoy, M. V. Zagidullina, E. Kats. The case method made it possible to characterize the main features of a polycode media text in terms of media aesthetic potential: interactivity, conceptual design, and organization of space. Together they allow you to create a coherent, convincing, expressive image, to establish contact with the addressee.
3
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Media aesthetic environment of image formation

86%
Zagidullina M.
Przegląd Wschodnioeuropejski
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2020
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vol. 2
85-93
EN
This paper is devoted to the “nature of image” in the new media environment. The author re-conceptualizes the image as a basis of textual, visual and audial culture. Two factors of this revision are explained: (1) the facilitation of the complex creation and consumption of communicative unities, or artifacts (complexes of video, audio, texts and other forms), (2) the ability to capture a massive interest for new forms of imagery in social networks and the internet (a research evidence of this interest). The theory of the image, presented in the writings of Jean-Luc Nancy, is applied to the actual facts of communicative exchange allowing to identify some new directions for the development of media aesthetic phenomena. The main empirical material of the article is the growing mass interest in video and audio clips, such as #oddlysatisfying and ASMR. The author uses this material to confirm Nancy’s idea on the concentration of image formation in an “invisible” zone (beyond the representation of the object itself: the image is interlined, it is between sounds, it is behind pictures).
4
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Медиаэстетика пустых форм: материальная основа культурного номадизма в эпоху панмедиатизации

86%
Zagidullina M.
Przegląd Wschodnioeuropejski
|
2018
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vol. 2
293-307
EN
The article is devoted to the concept of the “empty form”. This concept is considered from philosophical, communicative, sociological, artistic and cultural points of view. The author follows Aristotle’s philosophy of hylomorphism and “eidos” and its transformation into the 20th century theory of “new materiality” with the “emptiness of the center” and “assemblage of things” concepts, in the modern linguistic approaches and in art and creative industries (i.e. painting, architecture, literature). The metaphor “frame without painting” (G. Zimmel) helps us understand the social potential of the “empty form” concept (as a functional stimulus and condition of perception). The modern communication situation, characterized by a panmediatization of all sides of societal life and a penetration of media in all forms of sociality, provides a number of conditions leading to an increase of the role of “empty forms” (including creativity based on “ready-to-use” empty forms considered as “vacuums waiting to be filled”). Panmediatization makes possible “the cultural nomadism” as a rambling from one empty form to another one. Panmediatization creates a “cultural nomadism” that consists of rambling from one empty form to another. One can see how the panmediatized communication field organizes this rambling: any “cultural nomad”, or rambler, is provided an opportunity to create new senses and new objects in the virtually endless and timeless space of this field. The technical aspect nature of this field generates the phenomenon of media aesthetics – the process of never-ending creative activity and consumption and evaluation of its results, where the aesthetic judgement is embodied in the technical procedures of the panmediatized communication field (i.e. “likes” or “sharing” of social media).
5
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Zmiany w dyskursie prezydenckim w świetle estetyki mediów (ostatnie orędzie noworoczne rosyjskiego przywódcy)

51%
Noińska M.
Przegląd Rusycystyczny
|
2023
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issue 3 (183)
72-92
RU
Целью статьи является медиаэстетический анализ новогоднего обращения Владимира Путина на 2023 год. Изменения, замеченные в обращении, свидетельствуют о трансформации президентского дискурса, произошедшей во время российско-украинской войны. В анализируемом медиатексте язык, образы и музыка дополняют друг друга, чтобы усилить персуазивный потенциал сообщения . Использование нового пространственного оформления и изменение лингвистической эстетики, более близкой к антагонистическим дискурсам, ставят вооруженный конфликт в центре внимания. В обращении присутствуют характерные черты современного официального российского публичного дискурса: явное изображение врага, эксплицитное использование оппозиции свои-чужие и бинарных оппозиций, разделение российского общества на верных граждан и предателей, гиперболизация действий Запада и эвфемизация военных действий Российской Федерации, а также сочетание религиозных, советских и военных символов.
PL
Celem artykułu jest medioestetyczna analiza przemówienia noworocznego Władimira Putina na rok 2023. Zmiany zaobserwowane w przemówieniu są symptomatyczne dla przemian w dyskursie prezydenckim, które nastąpiły podczas wojny rosyjsko-ukraińskiej. W analizowanym przemówieniu Władimira Putina  język, obrazy i muzyka oddziałują na zmysły odbiorców i uzupełniają się nawzajem, wzmacniając przekaz. Wykorzystanie nowej aranżacji przestrzeni oraz zmiana estetyki językowej na bliższą antagonistycznym dyskursom sprawiają, że konflikt zbrojny staje się centralnym dla całego przemówienia. W orędziu obecne są charakterystyczne cechy aktualnego oficjalnego rosyjskiego dyskursu publicznego: wyraźny obraz wroga, eksplicytne stosowanie opozycji swój-obcy i opozycji binarnych, podział rosyjskiego społeczeństwa na lojalnych obywateli i zdrajców, którzy nie popierają ofensywy na Ukrainie, hiperbolizacja działań Zachodu i eufemizacja działań wojskowych Federacji Rosyjskiej, oraz kombinacja symboli religijnych, sowieckich i wojskowych.
EN
The aim of the article is a media aesthetic analysis of Vladimir Putin’s New Year’s address for 2023. The changes observed in the speech are symptomatic of the transformations within the presidential discourse that occurred during the Russian-Ukrainian war. In Vladimir Putin’s address for 2023, language, imagery, and music interact with the senses of the audience and complement each other to reinforce the message. The use of a new spatial arrangement and a change in linguistic aesthetics closer to antagonistic discourses make the armed conflict central to the entire speech. The address exhibits characteristic features of the current official Russian public discourse: a clear depiction of the enemy, explicit use of Us vs Them and binary oppositions, division of Russian society into loyal citizens and traitors who do not support the offensive in Ukraine, hyperbolization of Western actions and euphemization of military actions of the Russian Federation, and the combination of religious, Soviet, and military symbols.
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